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Copyright Marilyn J. La Vine © 2007 New York –
Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. London March 2,1970 THE ROPES OF TIME # The Traveler The Royal Ballet; Royal Opera House With: Monica Mason, Diana Vere C: van Dantzig M: Boerman London July 24,1970 'Tribute to Sir Frederick Ashton' Farewell Gala. The Royal LES RENDEZ-VOUS Ballet,- Royal Opera House Variation and Adagio of Lovers With: Merle Park Double debut evening. C: Ashton M: Auber London July 24,1970 APPARITIONS Ballroom Scene The Royal Ballet; Royal Opera House The Poet Danced at this Ashton Farewell Gala only. With: Margot Fonteyn C: Ashton M: Liszt London October 19, 1970 DANCES AT A GATHERING Lead Man in Brown The Royal Ballet; Royal Opera House With: Anthony Dowell, Antoinette Sibley C: Robbins M: Chopin Marseille October 30, 1970 SLEEPING BEAUTY Prince Desire Ballet de L'Opera de Morseille; Opera Municipal de Marseille With: Margot Fonteyn C: Hightower after Petipa M: Tchaikovsky Berlin Berlin Ballet of the Germon Opera; Deutsche Opera House November 21, 1970 Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role SWAN LAKE Prince Siegfried With: Marcia Haydee C: MacMillan M: Tchaikovsky Brussels March 11, 1971 SONGS OF A WAYFARER (Leider Eines Fahrenden Gesellen) # Ballet of the 20#, Century; Forest National Arena The Wanderer With: Paolo Bortoluzzi C: Bejart M: Mahler Double debut evening. -
(With) Shakespeare (/783437/Show) (Pdf) Elizabeth (/783437/Pdf) Klett
11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation ISSN 1554-6985 V O L U M E X · N U M B E R 2 (/current) S P R I N G 2 0 1 7 (/previous) S h a k e s p e a r e a n d D a n c e E D I T E D B Y (/about) E l i z a b e t h K l e t t (/archive) C O N T E N T S Introduction: Dancing (With) Shakespeare (/783437/show) (pdf) Elizabeth (/783437/pdf) Klett "We'll measure them a measure, and be gone": Renaissance Dance Emily Practices and Shakespeare’s Romeo and Juliet (/783478/show) (pdf) Winerock (/783478/pdf) Creation Myths: Inspiration, Collaboration, and the Genesis of Amy Romeo and Juliet (/783458/show) (pdf) (/783458/pdf) Rodgers "A hall, a hall! Give room, and foot it, girls": Realizing the Dance Linda Scene in Romeo and Juliet on Film (/783440/show) (pdf) McJannet (/783440/pdf) Prokofiev’s Romeo and Juliet: Some Consequences of the “Happy Nona Ending” (/783442/show) (pdf) (/783442/pdf) Monahin Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Emma Ado About Nothing (/783439/show) (pdf) (/783439/pdf) Atwood A "Merry War": Synetic's Much Ado About Nothing and American Sheila T. Post-war Iconography (/783480/show) (pdf) (/783480/pdf) Cavanagh "Light your Cigarette with my Heart's Fire, My Love": Raunchy Madhavi Dances and a Golden-hearted Prostitute in Bhardwaj's Omkara Biswas (2006) (/783482/show) (pdf) (/783482/pdf) www.borrowers.uga.edu/7165/toc 1/2 11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation The Concord of This Discord: Adapting the Late Romances for Elizabeth the -
The Annual 12 Night Party
President: Vice President: No. 485 - December 2013 Simon Russell Beale CBE Nickolas Grace Price 50p when sold Cutting the cake at the Vic-Wells’ 12th Night Party 2011 - Freddie Fox 2012 - Janie Dee 2013 - Clive Rowe ... but who will be there in 2014 to do this important operation? Why not come along and find out? As you can see, there is a very special cake made for the occasion and the guests certainly enjoy the ceremony. We make sure that everybody will get a slice to enjoy. Don’t be left out, book now! The Annual 12th Night Party Our annual Twelfth Night Party will be held at the Old Vic on Saturday, 4th January 2014 from 5.00pm to 6.30pm in the second circle bar area. Tickets are £6 for Members and £7.50 for Non-Members. Please write for tickets, enclosing a stamped, self-addressed envelope, to: Ruth Jeayes, 185 Honor Oak Road, London SE23 3RP (0208 699 2376) Stuttgart Ballet at Sadler’s Wells Report by Richard Reavill The Stuttgart Ballet is one of the world’s major international ballet companies, but it does not often visit the UK. It did make a short trip to Sadler’s Wells in November with two p r o g r a m m e s a n d f i v e performances over four days. The first one, Made in Germany, featured excerpts from works choreographed in Germany for t h e c o m p a n y . T h o u g h presented in three groups with two intervals, (like a triple bill), there were thirteen items, mostly pas-de-deux and solos, and only one piece, given last, for a larger group of dancers. -
93 the Cleopatra Ballerina Who Stays
SUNDAY TELEGRAPH March 21 1993 The Cleopatra ballerina who stays out in the cold Photo: Matthew Ford In a rare interview the great ballerina Lynn Seymour tells Ismene Brown why she's so wary of public attention A LOT of typewriter ribbon has frayed on the subject of Lynn Seymour. She is 'the greatest dramatic dancer of the era', according to Dame Ninette de Valois. Yet when she joined English National Ballet in 1989, one dancer told a newspaper contemptuously, 'She teaches with a beer can in one hand and a cigarette in the other. Who needs that?' Her image has see-sawed wildly between genius and Bad Girl. Both sides of the image are fed with plenty of material: consistently awestruck reviews of her dancing - and a considerable amount of backstage bitchery about her weight problems. Or drink problems. Or temper problems. Or man problems. Or money problems. These in turn were said to explain her absences from the stage. Where Fonteyn and Sibley sailed through their careers like galleons - in public, at least - Seymour's ship was always taking in water. It is unsurprising, then, that over the years she has avoided the press like the plague. I hadn't realised quite how scarred she is by publicity - or at least by her own view of what her public image is - until I met her last week. She had refused interview requests for her own recent appearances with Scottish Ballet as Lady Capulet, and with Northern Ballet Theatre in A Simple Man, but she agreed to 'do it for Derek's thing' - Derek being the film director Derek Jarman, who asked her to play the Russian ballerina Lydia Lopokova in his new film, Wittgenstein. -
Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro Zone)
edition ENGLISH n° 284 • the international DANCE magazine TOM 650 CFP) Pina Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro zone) € 4,90 9 10 3 4 Editor-in-chief Alfio Agostini Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Marinella Guatterini Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova On the cover, Pina Bausch’s final Roger Salas work (2009) “Como el musguito en Sonia Schoonejans la piedra, ay, sí, sí, sí...” René Sirvin dancer Anna Wehsarg, Tanztheater Lilo Weber Wuppertal, Santiago de Chile, 2009. Photo © Ninni Romeo Editorial assistant Cristiano Merlo Translations Simonetta Allder Cristiano Merlo 6 News – from the dance world Editorial services, design, web Luca Ruzza 22 On the cover : Advertising Pina Forever [email protected] ph. (+33) 09.82.29.82.84 Bluebeard in the #Metoo era (+39) 011.19.58.20.38 Subscriptions 30 On stage, critics : [email protected] The Royal Ballet, London n° 284 - II. 2020 Les Ballets de Monte-Carlo Hamburg Ballet: “Duse” Hamburg Ballet, John Neumeier Het Nationale Ballet, Amsterdam English National Ballet Paul Taylor Dance Company São Paulo Dance Company La Scala Ballet, Milan Staatsballett Berlin Stanislavsky Ballet, Moscow Cannes Jeune Ballet Het Nationale Ballet: “Frida” BALLET 2000 New Adventures/Matthew Bourne B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 Teac Damse/Keegan Dolan Éditions Ballet 2000 Sarl – France 47 Prix de Lausanne ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P. -
Stephanie Jordan Re-Visioning Nineteenth-Century Music Through Ballet
Stephanie Jordan Re-Visioning Nineteenth-Century Music Through Ballet. The Work of Sir Frederick Ashton Sir Frederick Ashton, founder choreographer of The Royal Ballet, was a noted exponent of nineteenth-century music, especially ballet music. Consider his Les Rendezvous (1933, Daniel-François-Esprit Auber), Les Patineurs (1937, Giacomo Meyerbeer), and Birthday Offering (1956, Alexander Glazunov); then his two/three act ballets La Fille mal gardée (1960, mainly Ferdinand Hérold), Sylvia (1952, Léo Delibes), and The Two Pigeons (1961, André Messager); and finally the two dances to music fromLa Source(Delibes and Léon Minkus), training pieces for the Royal Academy of Dancing (rad) Solo Seal examinations (cir- ca 1956). Nearly all these ballets are to French ballet music for ballet-divertissements within, as well as independent from, opera. Yet we could add Ashton’s settings ofpassages from Peter Ilyich Tchaikovsky’s The Sleeping Beauty and Swan Lake, his series of ballets to scores by Franz Liszt, The Dream (1964) to incidental music for Shakespeare’s Midsummer Night’s Dream by Felix Mendelssohn that sounds as if composed for dance, and AMonth in the Country (1976) to Frédéric Chopin (based on the play by Turgenev) which, as we shall see later, has a number of links with nineteenth-century Paris. Month is set to three early Chopin scores for piano and orchestra that are full of dances and dance rhythms. (Ashton maintained a penchant for more recent French music too: he set Darius Milhaud, Paul Dukas, Erik Satie, Francis Poulenc, Claude Debussy and, on a number of occasions, Maurice Ravel.)1 Most of these ballets are well-known Ashton, amongst his finest work, and never lost from the repertory. -
Narrative Aspects of Kenneth Macmillan's Ballet the Invitation
DOCTORAL THESIS Narrative Aspects of Kenneth MacMillan’s Ballet The Invitation de Lucas Olmos, Maria Cristina Award date: 2017 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Narrative Aspects of Kenneth MacMillan’s Ballet The Invitation by Cristina de Lucas BA Law, BA English and Literature, MA Ballet Studies A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2016 To my father and to the memory of my mother, with love. ABSTRACT: The British choreographer Kenneth MacMillan (1929-1992) has a prominent place in the narrative tradition of the Royal Ballet. As a major storyteller in the history of the company, his ballets with intense, dramatic stories are an important part of the dance heritage of British ballet. This thesis focuses on one of MacMillan’s first narrative achievements, the one-act ballet The Invitation (1960), and studies the main thematic concerns and stylistic strategies that it deploys. -
FVAD Brochure 2015
FRASER VALLEY ACADEMY OF DANCE Artistic Director John C. Carney Students have an exceptional opportunity to be trained by an international staff of Fraser Valley Academy of Dance offers superior certified RAD & ISTD teachers and former dance training with specialized focus on professional dancers from: classical ballet, contemporary, modern and • English National Ballet tap. The results speak for themselves as students • Rambert Dance Company have been accepted into international full-time • Cairo National Opera professional programs including: • Princess Cruises • Atlantic Ballet Theatre • Canada’s National Ballet School • Royal Caribbean Cruise Lines • Royal Winnipeg Ballet School • Orlando Ballet • Joffrey Ballet School (New York City) • Kharkiv National Opera • School of Alberta Ballet • Celebrity Cruise Lines • Randolph Academy of Performing Arts (Toronto) • Ballet Theatre of Ukraine • Rambert School of Ballet and Contemporary Dance (London, England) as well as numerous prestigious summer programs and spring intensives. Classical Ballet School Pre-Professional Daily Academy Musical Theatre School (Ages 3 to Adult) FRASER VALLEY ACADEMY OF DANCE 33219 1st Ave, Mission BC V2V1G7 Canada Specialist Training in Classical Ballet T: +1 (604) 826-0097 Modern Theatre Dance, Tap and Contemporary Ballet [email protected] www.fvad.ca A CENTRE OF EXCELLENCE IN DANCE Photos by Lori Holden Photography, Alan Bailward Mission Chamber of Commerce Member of the UNESCO Photography, Fly in the Eye Photography, Rick McDonald Entrepreneurial Excellence Award International Council of Dance MR. JOHN C. CARNEY, ARTISTIC DIRECTOR Mr. Carney has been in the FRASER VALLEY ACADEMY OF DANCE dance world since 1965 when he began training at the Dorothy Stevens School of Dance. An RAD York Scholar, he obtained RAD Highly Commended Advanced (now Advanced 2) Certification. -
Nicholas Georgiadis
FROM: AMERICAN BALLET THEATRE 890 Broadway New York, New York 10003 (212) 477-3030 NICHOLAS GEORGIADIS Nicholas Georgiadis was born in Athens, Greece and studied at the National Metsovian University before winning a Fulbright scholarship in 1952 to study at Columbia University, New York. The following year he moved to London to study stage design at the Slade School of Fine Art, where he later became a lecturer. His designs for ballet included MacMillan’s Danses Concertantes, House of Birds, Noctambules, Agon, The Burrow, The Invitation, Las Hermanas, Song of the Earth, Manon, Mayerling, Orpheus (for The Royal Ballet), Swan Lake (for the Berlin Opera House); Nureyev’s production of The Nutcracker and The Tempest (for The Royal Ballet and the Paris Opera Ballet), Swan Lake (Vienna State Opera House), The Sleeping Beauty (La Scala, Milan, National Ballet of Canada, Vienna State Opera and London Festival Ballet), Raymonda (American Ballet Theatre, Zurich Opera House and Paris Opera Ballet), Manfred (Zurich Opera House), Don Quixote (Zurich, Berlin and Paris Opera Houses, and International Ballet Festival, Boston); and Lynn Seymour’s Intimate Lovers (Sadler's Wells Royal Ballet). Georgiadis’s designs for Orpheus and The Tempest won him the London Evening Standard Ballet Award for the most outstanding achievement in 1982. His designs for opera included Aida and The Trojans (The Royal Opera); Medea (Frankfurt Opera House); Anna Bolena (Athens Opera House) and Don Giovanni (Athens Festival). His designs for plays include Lysistrata (Royal Count), Montherlant’s (more) GEORGIADIS – Page 2 La Reine Morte (Oxford Playhouse), Julius Caesar (Old Vic), Anthony and Cleopatra (Prospect Theatre Company), All for Love (Prospect), Captain Brassbound’s Conversion (Haymarket); and his costume designs for films include Euripides’s The Trojan Woman, and the reconstruction of the Ballets Russes designs for Nijinksy. -
My Dance and the Ideal Body: Looking at Ballet Practice from the Inside Out, Research in Dance Education, 6(1-2), 25-40
Published as: Jackson, J. (2005). My dance and the ideal body: looking at ballet practice from the inside out, Research in Dance Education, 6(1-2), 25-40. Available online at: http://dx.doi.org/10.1080/14617890500373089 My dance and the ideal body: looking at ballet practice from the inside out Jennifer Jackson, University of Surrey, Guildford, UK Abstract This paper argues for a change of thinking about the ‘ideal body’ in relation to ballet as a dance form and how it is studied. It distinguishes between spectator and practitioner perspectives on ballet, and draws on the practice of established dance artists and that of the author to write about the first- person experience—from the inside out. Using a balletic concept, en dehors/en dedans, as a metaphor, the discussion moves from looking at the outside product of the ballet inwards to look at the inside processes or practice. The impact of the spectator perspective on the characterization of practice is considered, raising questions about the construction of binaries such as free/rule bound and the perception of the body and form as fixed. A case is made for ballet study as a somatic practice, and how engaging the first-person experience and perspective on the body allows the individual dancer to develop as both artist and technician. I sat on an audition panel in July 2004 with a colleague whose career in the Royal Ballet had overlapped with mine. We were selecting dancers who showed potential for pre-vocational training in ballet and, prior to the auditions, we shared our concerns about the state of the art, the emphasis on bodily potential for training and athletic over artistic achievement, and a cultural context where the ‘ideal body’ as image is a powerful influence. -
MARCH 30 | 7:30 PM the Kaye Playhouse at Hunter College | New York
MARCH 30 | 7:30 PM The Kaye Playhouse at Hunter College | New York Tears of the Moon Trois Voix (three voices) Airs Choreography | Kirk Peterson Choreography | Mary Barton Choreography | Paul Taylor Music | Beethoven Music | Poulenc Music | Handel This program is made possible in part by funds from the New Jersey State Council on the Arts, a Partner Agency of the National Endowment for the Arts. Proud to support the American Repertory Ballet ©2015 Bloomberg L.P. All rights reserved. S619816840 0815©2015 Bloomberg L.P. arballet.org | 11 Julie Diana Hench Douglas Martin Aydmara Cabrera Audrée Estey Executive Director Artistic Director School Director Founder The Company Douglas Martin | Artistic Director Mary Barton | Resident Choreographer/Ballet Master Kirk Peterson | Resident Choreographer Tanner Bleck Ruben Rascon Daniel Cooke Erikka Reenstierna-Cates Shaye Firer Ryoko Tanaka Annie Johnson Marie Tender Aldeir Monteiro Journy Wilkes-Davis Emily Parker Nanako Yamamoto ARB2 Greta Battistin, Jonathan Montepara, Moeno Oba, Matanya Solomon, Jorge Urbina, Nina Yoshida Apprentices | Kirara Fuse, Zoya Pavlovsky, Hallie Rumsey-Lasersohn, Elisabeth White, Haley Wright Trainees Sahsha Amaut, Amelia Aroneo, BreAriel Bennett, Kennedy Curtis, Coral Dennison, Madeleine Douglas, Madison Elizabeth, Sydney Faber, Isabela Ferreira, Isabella Fernandes, Paige Finlay, Emma Lissette, Yeonji Heo, Yi-Hsuan Huang, Amanda Hwang, Noe Iwamatsu, Althea Johnson-Staub, Hannah Lipman, Ruixue Monica Lu, Julia Mayer, Grace McCann, Anna McDowell, Lydia Alyse Miller, Ana -
Copyright Marilyn J. La Vine © 2007 New York –
Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. March 11, 1960 LA BAYADERE Solor With: Olga Moiseeva; Ninel Kurgapkina C: Petipa/Chabukiani M: Minkus April 14,1960 LA BAYADERE Solor With: Olga Moiseeva; Liubov Voishnis C: Petipa/Chabukiani M: Minkus May 8,1960 THE SLEEPING BEAUTY Bluebird With: Alla Sizova C: Petipa M:Tchaikovsky May 11, 1960 RAYMONDA Hungarian Pas de quatre With: Oleg Sokolov, Gennady Seliutsky, Yuri Soloviev C: Petipa M: Glazunov May 19,1960 RAYMONDA Hungarian Pas de quatre With: Oleg Sokolov, Vassily Ivanov, Sergei Vikulov C: Petipa M: Glazunov May 27,1960 DON QUIXOTE Basilio With: Ninel Kurgapkina C: Petipa/Gorsky M: Minkus June 1, 1960 SWAN LAKE Pas de trois Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role With: Nina Yastrebova, Tatiana Legat C: Petipa M: Tchaikovsky BULGANIN'S VILLA OUTSIDE OF MOSCOW June 1960 DON QUIXOTE Nureyev invited to dance before Nikita Adagio and coda Khrushchev With: Ninel Kurgapkina C: Petipa M: Tchaikovsky June 18,1960 THE NUTCRACKER Adagio With: Marina Cherednichenko C: Vainonen M: Tchaikovsky June 26,1960 DON QUIXOTE Basilio With: Ninel Kurgapkina C: Petipa/Gorsky M: Minkus June 30,1960 GISELLE Count Albrecht With: Alla Shelest, Ninel Kurgapkina C: Petipa after Coralli & Perrot M: Adam June 1960 MOSZKOVSKY WALTZ With: Alla Sizova C: Vainonen/Messerer M: Moszkovsky July 3, 1960 GISELLE Count Albrecht With: Alla Shelest; Nina Sakhnovskaya C: Petipa after Coralli & Perrot M: Adam July 7, 1960 SWAN LAKE Copyright Marilyn J.